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In the recently released documentary Sisters with Transistors, beloved avant-garde artist Laurie Anderson poses a provocative question: “How do you exorcise the canon of classical music of misogyny?” She pauses a beat, eventually answering: “With two oscillators, a turntable, and tape delay.” The issue Anderson raises is a familiar one. In the last few years, electronic music has undergone a discursive reckoning: scholars, producers, DJs, journalists, and select labels and festivals have called for a feminist reimagining of electronic music’s past and present. This narrative shift has spotlit the women behind the boards; those tinkering with tape machines and oscillators, searching for a sense of freedom in the technology that once upended the traditional structures of composition and music.

New yorkUnited statesUnited kingdomMexico cityDistrito federalColumbia universityMichiko toyamaJessica ekomaneBebe barronJohn cageHilda diandaLaurie andersonHolly herndonSarah davachiPauline oliverosClara rockmore